Liszt: Songs, Vol. III "Un cycle imaginaire" Katharina Konradi & Daniel Heide

• Franz Liszt (1811 - 18886):
• 1 Liszt: Oh! quand je dors, S. 282 (2nd Version) 04:38
• 2 Liszt: S'il est un charmant gazon, S. 284 (2nd Version) 02:18
• 3 Liszt: Quand tu chantes, bercée, S. 306a 02:16
• 4 Liszt: Le Crucifix, S. 342 (1st Version) 02:13
• 5 Liszt: Comment, disaient-ils, S. 276 (2nd Version) 01:36
• 6 Liszt: Enfant, si j'étais roi, S. 283 (2nd Version) 02:52
• 7 Liszt: Le Crucifix, S. 342 (2nd Version) 02:42
• 8 Liszt: La tombe et la rose, S. 285 03:37
• 9 Liszt: Le Crucifix, S. 342 (3rd Version) 04:11
• 10 Liszt: Oh! quand je dors, S. 282 (1st Version) 05:34
• 11 Liszt: Jeanne d'Arc au bûcher, S. 293 08:15
• 12 Liszt: Oh pourquoi donc, S. 301a 04:39
• 13 Liszt: Élégie. En ces lieux, S. 301b 05:05
• 14 Liszt: J'ai perdu ma force et ma vie, S. 327 04:02
• 15 Liszt: Il m'aimait tant!, S. 271 05:47
• 16 Liszt: S'il est un charmant gazon, S. 284 (1st Version) 03:34
• 17 Liszt: Enfant, si j'étais roi, S. 283 (1st Version) 03:33
• 18 Liszt: Comment, disaient-ils, S. 276 (1st Version) 02:30
• Total Runtime 01:09:22

Info for Liszt: Songs, Vol. III "Un cycle imaginaire"

This volume carries the header of a "Cycle imaginaire", based on textes by Victor Hugo who seems to have been the most important poet for Franz Liszt.

"The 3rd volume of our complete recording of Franz Liszt’s art songs is exclusively devoted to vocal settings of poems in French. Liszt was one of the few Central European composers of his time who not only mastered the French language in addition to German but was also an avid reader of contemporary French poetry. Multilingualism was relatively uncommon in the mid-1800s; Liszt was a rather exceptional polyglot, just like his pupil Pauline Viardot (1821-1910), who composed art songs in each of the six languages she fluently spoke.........

Liszt’s songs have been handed down to us in several variants and versions. Thus, in this third volume, we once more had to decide whether to select one “definitive” version or offer our listeners the enriching occasion to hear several alternatives.

We decided to create an imaginary song cycle of Victor Hugo settings. Admittedly, Liszt never wrote concept-oriented song cycles like those of Schubert or Schumann, but we chose to combine all of his Hugo settings (excepting Gastibelza) in a collage-like succession......In most cases, we have chosen the songs’ last versions. " .....read more (Excerpt from the booket notes by Daniel Heide)

Katharina Konradi, soprano
Daniel Heide, piano

Katharina Konradi
"Konradi’s timbre has a delicate fragrance, the voice seems weightless and light as a feather." Opernwelt Soprano Katharina Konradi was born in Bishkek and is the first soprano from Kyrgyzstan to have an international career as a Lied, concert and opera singer. Her “crystal-clear” voice and “dazzling vocal technique,” (Backtrack) has a “fascinating palette of colour shades,” (Das Opernglas) which she employs for roles such as Sophie (Der Rosenkavalier), Gilda (Rigoletto) and Susanna (Le Nozze di Figaro), and on the concert and recital stage.

Her love of singing developed in childhood, and her move to Germany with her family at age 15 – and subsequent German citizenship – nurtured her love of classical music. Balancing her time between opera, Liederabend and concert work, she has performed at leading opera houses such as the Bayerische Staatsoper, Wiener Staatsoper, and Opernhaus Zürich, recitals at Wigmore Hall and Konzerthaus Wien, and concerts with the Berlin and Munich Philharmonic, among many others. An acclaimed recording artist, she is featured on over a dozen recordings. Her first recording for CAvi-music was Liebe (Love) with Lieder by Schubert, Mozart and R. Strauss. She frequently collaborates with Daniel Heide, both on recordings and in performances.

Daniel Heide
Born in Weimar, pianist Daniel Heide is one of the most sought-after vocal accompanists and chamber musicians of his generation. He performs in recital series and festivals all over Europe as well as in Asia: for instance, in the Konzerthäuser in Vienna, Berlin and Dortmund, the London Wigmore Hall, the Schubertiade in Schwarzenberg and Hohenems (Austria), the Heidelberg Spring Festival, and the Oxford Lieder Festival.

In addition to his ongoing collaboration with vocalists including Andrè Schuen, Christoph Prégardien, Simone Kermes, Ingeborg Danz, Britta Schwarz, Roman Trekel, and Tobias Berndt, he has also accompanied lieder recitals with renowned singers such as Regula Mühlemann, Fatma Said, Benjamin Appl, Sheva Tehoval, Dietrich Henschel, Dorottya Lang, Patrick Grahl, Katharina Konradi, Hanno Müller-Brachmann, Luca Pisaroni, Konstantin Krimmel and Johannes Weisser.

He also loves sharing the stage with actors and narrators including Christian Brückner, Udo Samel, Thomas Thieme, and Hanns Zischler in the genre of melodrama. Daniel Heide had a close collaboration with the late German-Greek mezzo-soprano Stella Doufexis.

Their CD Poèmes with songs by Claude Debussy was awarded the German Record Critics’ Prize. As a chamber music partner in duo sonata recitals he has concertized with outstanding soloists including Sabine Meyer, Tabea Zimmermann, Antje Weithaas, Wolfgang Emanuel Schmidt, Jens Peter Maintz, and Danjulo Ishizaka.

Daniel Heide is the founder and artistic director of the vocal recital series Der lyrische Salon. Held in Ettersburg Castle near Weimar, the series has existed since 2011 and is one of the few – anywhere in the world – that is devoted exclusively to artsong. In that context he has collaborated with a great number of celebrated soloists of the lied genre in roughly 100 recitals.

On CAvi-music he recorded with baritone Andrè Schuen songs by Robert Schumann, Hugo Wolf, Frank Martin and a Schubert album Wanderer; with Roman Trekel most famous Loewe Ballades, with Stella Doufexis Hamlet Echoes, with Konstantin Krimmel Liszt Songs and the album Liebe with the soprano Katharina Konradi, and released three solo albums with Beethoven sonatas.

Booklet for Liszt: Songs, Vol. III "Un cycle imaginaire"